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FUSIONS AND OVERLAPPING AND

INTERRELATED ELEMENTS
• Graffiti
• Poetry performance
• Performance Art
• Digital Art

TRANSCREATION
• Music to text
• Text to dance
• Dance to visual

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(K)
• Identify the elements of art
(S)
• Analyze the various elements present in visual,
auditory and combined arts
• Determine dominants elements used in hybrid or
modified art expressions
(O, P (S)
• Determine the factors influencing artists such as
distortion, transformation. Appropriation in an
experimental or hybrid art expression

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Art fusion comes in various combinations of products with
paintings, or collection of products to be used for the mean
of an art, basically a two factor collaboration in creating a
masterpiece. Art fusion has proliferated over few past
decades but examples of collaboration started way back in
1930’s. At first, fine artists and fashion designers were the
on to engage in art fusion.

PHARRELI WILLIAMS X DOMEAU & PÉRÈS

The fusion of art above shows the collaboration of

human with products added with bright colors.

Art fusion is also an art that would represent different

way of showing ones culture and traditional. Different art
fusion can be shown as an example for an art as is being
shown below of the painting of Mona Lisa from different
part o the world as shown below. Art fusion is also better
know to saying it in a way that it is more toward showing
art with a fusion of modern way of portraying an art
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HISTORY AND EXAMPLES

Art fusion has proliferated over the past decade but

examples of collaborations date back as far as the 1930′s.
Fine artists and fashion designers were the first to engage in
this new breed of partnership – the first high profile union
being Salvatore Dali and Elsa Schiaparelli in 1933. Andy
Warhol and Yves Saint Laurent collaborated in the 1960′s and
recently, the idea has gained the momentum of a movement
with many different types of artists collaborating with many
different types of brands. For examples we find inspiring,
please subscribe to our blog. We post stimulating examples
regularly.

HOW ART FUSION BENEFITS BRANDS

A well-chosen, well-planned, well-executed collaboration

can have many positive effects on a brand. It can bring
newsiness and talk-value, create a feeling of innovation and
excitement, and generate genuine interest in staid or even
forgotten brands. It can be used to activate a quiet brand
and can often be effective in introducing it to a whole new
audience.

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HOW ART FUSION BENEFITS ARTISTS

Art has a profound impact on society’s capacity to grow

and evolve and embrace change. It is the forseer and the
destroyer of the status quo. Artists have voices that must
be heard to nurture our society’s soul – something art
fusion can amplify. A collaboration with a brand can give an
artist the ability to produce work that will reach a new and
wider audience, gain notoriety for their future work, or
simply be a means to permeate culture in places their art
wouldn’t otherwise be seen.

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WHAT IS OVERLAPPING?

Overlapping in art is the placement of objects over one

another in order to create the illusion of depth. Painting is a
two-dimensional artistic expression. It has length and width
but no depth. It is necessary, therefore, for artists to provide
viewers with some sort of perspective in establishing size
and distance in paintings. This is where overlapping come
into play. If everything in a painting was of the same basic
size, without overlapping there would be no way for viewers
to distinguish small but important details, such as who or
what is closest to or farthest from the viewers.

Overlapping turns paintings into windows of sorts by

creating the illusion that there is an entire world inside the
canvas and that viewers are merely getting a glimpse of it.
Overlapping was an aspect of works of an art form that
emerged just before the middle of the 20th century called
abstract expressionism. Many abstract expressionist
paintings are simply a series of overlapping lines or shapes.
Overlapping can also be used to blur the lines of where one
thing starts and another begins. Pablo Picasso's Three
Musicians is an excellent example of this. The famous
cubist painting appears to be comprised of paper cutouts
positioned to create the illusion that the three musicians
merge.

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INTERRELATED. Interrelated things are connected — they
compliment or depend on each other. Your mood and
whether or not you ate breakfast this morning might be
interrelated.

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xpfMCFQAAAAAdAAAAABAI

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Graffiti, form of visual communication, usually illegal,
involving the unauthorized marking of public space by an
individual or group. Although the common image of graffiti
is a stylistic symbol or phrase spray-painted on a wall by a
member of a street gang, some graffiti is not gang-related.

Graffiti can be understood as antisocial behavior

performed in order to gain attention or as a form of thrill
seeking, but it also can be understood as an expressive art
form. Derived from the Italian word graffito (“scratch”),
graffiti (“incised inscriptions,” plural but often used as
singular) has a long history. Ex: markings have been found
in ancient Roman ruins, in the remains of the Mayan city of
Tikal in Central America, on rocks in Spain dating to the
16th century, and in medieval English churches.

During the 20th century, graffiti in the United States and

Europe was closely associated with gangs, who used it for a
variety of purposes: for identifying or claiming territory, for
memorializing dead gang members in an informal
“obituary,” for boasting about acts (e.g., crimes) committed
by gang members, and for challenging rival gangs as a
prelude to violent confrontations.

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EwifzufPsqXzAhV4xIsBHVtUA9kQMygJegUIARDFAQ

Graffiti was particularly prominent in major urban centres

throughout the world, especially in the United States and
Europe; common targets were subways, billboards, and walls.
In the 1990s there emerged a new form of graffiti, known as
“tagging,” which entailed the repeated use of a single symbol
or series of symbols to mark territory. In order to attract the
most attention possible, this type of graffiti usually appeared
in strategically or centrally located neighbourhoods.
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Poetry Performance, is poetry that is specifically composed
for or during performance before an audience. During the
1980s, the term came into popular usage to describe
poetry written or composed exclusively for performance
and not for print distribution. Whereas poetry readings
featured poets reading their printed books for a live
audience, some of which were recorded on audio media,
performance poets use a different style of writing poetry
that is less conducive to print and better suited for their
oral presentations.

Conversely, much performance poetry does not work well

when printed in books. Performance poets are often not
academically trained in writing poetry. Their poetic
allusions are to pop culture rather than to the great
literature of the past. Consequently, many performance
poets are denied credibility by Academics, but are able to
build a greater audience for poetry by communicating to a
wider range of people.

The term performance poetry originates from an early

press release describing the 1980s performance poet
Hedwig Gorski, whose audio recordings achieved success
on spoken word radio programs around the world. Her
band, East of Eden Band, was described as the most

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successful at music and poetry collaborations, allowing

cassettes of her live radio broadcast recordings to stay in
rotation with popular underground music recordings on
some radio stations. Gorski, an art school graduate, tried to
come up with a term that would distinguish her text-based
vocal performances from performance art, especially the
work of performance artists, such as Laurie Anderson, who
worked with music at that time.

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Performance poets relied more on the rhetorical and
philosophical expression in their poetics than performance
artists, who arose from the visual art genres of painting and
sculpture. The Austin Chronicle newspaper, printing Gorski's
bi-weekly "Litera" column, first published the term
"performance poetry" to describe the work of Gorski with
composer D'Jalma Garnier III as early as 1982. She began
using the term, however, to describe a 1978 "neo-verse
drama" and "conceptual spoken poetry for five voices"
titled Booby, Mama! that employs the cut-up method made
popular by William Burroughs and conceptual art methods.

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Performance Art, While the terms ‘performance’ and
‘performance art’ only became widely used in the 1970s, the
history of performance in the visual arts is often traced back
to futurist productions and dada cabarets of the 1910s.

Throughout the twentieth century performance was often

seen as a non-traditional way of making art. Live-ness,
physical movement and impermanence offered artists
alternatives to the static permanence of painting and
sculpture. In the post-war period performance became
aligned with conceptual art, because of its often immaterial
nature. Now an accepted part of the visual art world, the
term has since been used to also describe film, video,
photographic and installation-based artworks through which
the actions of artists, performers or the audience are
conveyed.

More recently, performance has been understood as a way

of engaging directly with social reality, the specifics of space
and the politics of identity. In 2016, theorist Jonah
Westerman remarked ‘performance is not (and never was) a
medium, not something that an artwork can be but rather a
set of questions and concerns about how art relates to
people and the wider social world’.

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Digital Art, The first use of the term digital art was in the
early 1980s when computer engineers devised a paint
program which was used by the pioneering digital artist
Harold Cohen. This became known as AARON, a robotic
machine designed to make large drawings on sheets of paper
placed on the floor. Since this early foray into

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%20art&hl=en&ved=2ahUKEwi4wq74tKXzAhUIspQKHamYBXkQMygEegUIARDRAQ

artificial intelligence, Cohen continued to fine-tune the

AARON program as technology becomes more
sophisticated. Digital art can be computer generated,
scanned or drawn using a tablet and a mouse. In the 1990s,
thanks to improvements in digital technology, it was
possible to download video onto computers, allowing
artists to manipulate the images they had filmed with a
video camera. This gave artists a creative freedom never
experienced before with film, allowing them to cut and
paste within moving images to create visual collages. In
recent times some digital art has become interactive,
allowing the audience a certain amount of control over the
final image. 17
Transcreation is the merger of two words: translation and
creation. It's an intricate form of translating that preserves
the original intent, context, emotion, and tone.

Transcreation is a concept used in the field of translation

studies to describe the process of adapting a message from
one language to another, while maintaining its intent, style,
tone, and context.

What is transcreation in art?

Transcreation (translation and re-creation)

essentially combines the discipline of translation with
the art of interpretation. It is the process by which
communications produced for a local market are re-
evaluated and re-configured to appeal to a culturally
disparate audience.

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Is transcreation in art is necessary?

Transcreation is incredibly important; you cannot just rely

on 'direct' (word-for-word) translations because these can
quickly evoke different interpretations dependent on
languages and cultures.

Transcreation enhances the impact of language.

Translating and localising content focuses on the clear
communication of a message. Transcreation cares not only
about the clarity of the concept, but the emotion and the
power of the idea.

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TRANSCREATION: TRANSLATING AND RECREATING

Some clients may ask you to “transcreate” (or “adapt”) a

text rather than simply translating it. But what is
transcreation?

Transcreation basically means recreating a text for the

target audience, in other words “translating” and
“recreating” the text. Hence the term “transcreation”.
Transcreation is used to make sure that the target text is the
same as the source text in every aspect: the message it
conveys, style, the images and emotions it evokes and its
cultural background. You could say that transcreation is to
translation what copywriting is to writing.

One could argue that any translation job is a transcreation

job, since a good translation should always try to reflect all
these aspects of the source text. This is of course true. But
some types of texts require a higher level of transcreation
than others. A technical text, for example, will usually not
contain many emotions and cultural references and its
linguistic style will usually not be very challenging.
However, marketing and advertising copy, which is the
type of copy to which the term transcreation is usually
applied, does contain all these different aspects, making it
difficult to create a direct translation. Translating these
texts therefore requires a lot of creativity.

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In addition to creativity, a transcreator should also have an
excellent knowledge of both the source language and the
target language, a thorough knowledge of cultural
backgrounds and be familiar with the product being
advertised and be able to write about it enthusiastically. In
addition, it certainly helps if the transcreator can handle
stress and is flexible, since the advertising world is a fast-
paced world and deadlines and source texts tend to change
frequently.

Types of texts offered for transcreation vary from websites,

brochures and TV and radio commercials aimed at end
clients, to posters and flyers for resellers. They could be
about any consumer product: digital cameras, airlines, food
and drink, clothing and shoes, and financial products.

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Transcreators are often required to deliver two or three
alternative translations, especially for taglines, and a back
translation, to help the end client, who typically does not
understand the target language, get an idea of what the
translated text sounds like. Transcreators are also expected
to provide cultural advice: they should tell the end client
when a specific translation or image does not work for the
target audience.
In addition to the difficulties posed by creating a target
text containing all the aspects of the source text (message,
style, images and emotions, cultural background),
marketing and advertising copy often poses other
difficulties for the transcreator as well. Taglines, for
example, often contain puns or references to imagery
used by the company. They tend to be incorporated in a
logo or image, with limited space and a fixed layout for the
text. In addition, they are often used for multiple target
groups: not just consumers, but also resellers and
stakeholders, which means the text should appeal to all of
them.

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WHAT IS TRANSCREATION AND WHY IS IT SO
IMPORTANT?

Transcreation (translation and re-creation) essentially

combines the discipline of translation with the art of
interpretation. It is the process by which communications
produced for a local market are re-evaluated and re-
configured to appeal to a culturally disparate audience. The
transcreation process involves gaining an understanding of
a target market and carefully tailoring communications by
employing suitable language, imagery, style and tone for
effective messaging and optimal appeal. Considerations for
Transcreation Include:

LANGUAGE
Literal translation of communications poses problems. At
the very least text could be o_ -message and fail to
resonate with target audiences. At worst, text could o_ end
audiences, cause embarrassment and permanently damage
a brand.
Many successful and high profile campaigns taglines or
puns are “lost in translation”, for example the KFC’s “Finger
Lickin Good” taglines’ nearest Chinese approximation “Eat
your Fingers Off” – does not make for an appetizing
proposition.
Equally, local vernacular can alter the meaning of a word as
Clairol discovered when they introduced their “Mist Stick
Curling Iron” to the market. The company was oblivious to
the fact that “mist” is slang for manure in Germany, a
market with significant potential. 23
IMAGERY
The benefit of local knowledge cannot be underestimated.
Images and colours impact diversely with different cultures
and a failure to recognise this can adversely affect
campaigns.
A powerful example of this can be drawn from Pepsi’s
experience in South East Asia. Pepsi’s decision to change
the colour of vending machines from deep blue to light
blue prompted a significant drop in sales which, upon
examination, was attributed to the fact that blue is
associated with death and mourning in the region.

CULTURAL PRACTICES
In 2008 HSBC introduced their highly effective
“Glocalization” strategy. This campaign “Think Globally, Act
Locally” comprised a series of advertisements demonstrating
how gestures are interpreted differently by different
cultures. i.e. displaying the soles of your feet is considered
offensive in Thailand, whilst simple hand gestures are
construed as rude in Greece. This campaign powerfully
endorses the importance of local knowledge when
embarking on a customised marketing campaign.

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LEGAL PRACTICES
Some countries prohibit advertising directed at children,
others ban the promotion of certain products, such as
tobacco or alcohol. Countries such as Germany, Luxemburg
and Belgium ban comparative advertising. It is important to
know the parameters of target markets and to operate within
the confines of local practices.
Each of the aforementioned examples serve to demonstrate
the incredible challenges presented and risks associated with
global marketing. Failure to identify, understand and
communicate with target audiences can result in a fallout that
can range from public embarrassment and campaign failure,
to financial loss and complete brand destruction.

TYPICAL QUALITIES FOR GOOD TRANSCREATION

Effective transcreation strengthens brand perception at a

local level and provides transferable global customer
experience, ensuring strategic consistency and brand
positioning.
In an ideal world, local and international transcreation
teams should be involved in the campaign conception
process to ensure strategies benefit from global and local
considerations. Typically, however, transcreation teams are
engaged after the primary campaign strategy has been
devised and executed.

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WHAT IS TRANSCREATION OF TEXT TO DANCE?

That is to say, the act of reworking

a text into a ballet involves the
same thoughtful intention as
erasure or translation
poetry because of the way dance,
being an art without text, points at
its textual origin

Although there are certain movements in ballet that do

have a defined translation, known as classical ballet mime,
not dissimilar to American Sign Language, the vast majority
of translation in ballets happens through the expression and
presentation of the characters, and the dynamics between
those on stage and off. And while more often than not, the
producer will offer a brief synopsis of each act in the
program to add to the audience’s experience of the
production, dance is largely to be considered in the act of
the performance itself; its dancers, choreography, costume,
set design, and often musical score do the vast majority of
the “talking.”

Depending on the approach the choreographer wants to

take with the text, they may start choreographing and have
a composer create the score based on the movement, or
they may create collaboratively with the composer.
How The Royal Ballet created The Winter's Tale

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As in theatre, a choreographer may choose to interpret a text
literally and translate each act or chapter, or to illustrate the
essence of the text in movement quality and emotion. Take
for example The Royal Ballet’s production of
Shakespeare’s The Winter’s Tale:

How The Royal Ballet created The Winter's Tale

https://youtu.be/upoxoMEle5I

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 The Winter’s Tale is both informed by the text and the ways
in which each collaborator interprets the most vital aspects
that are represented in costume, set, and musical and
choreographic narrative.

Like the translation poem or any form of interpretative art,

such as erasure poetry, dance faces the same accusations
of plagiarism, but it’s the refurbishing of literature into
fresh, modern interpretations that is keeping the text alive
in a contemporary setting.

With that said, like poetry or literature, a dance can be

translated in many ways — some far from the author’s
intention for the text. Sometimes this works favorably for
audiences, and sometimes not as much. Of course, the
best choreographers will decide to maintain or stray away
from the original context of the literary piece with artistic
purpose.

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https://thefiddlehead.ca/sites/default/files/styles/large/public/field/image/maxresdefault%20%281%29.jpg?itok=Um7qdl7_

It can also translate literature in a way that appeals to a

wider audience because body language is universal. While
dance and literature may not immediately seem to be
similar in their purpose and form, I believe that the two art
forms working in tandem emphasize the importance of the
other; it is important to keep dance alive because it keeps
alive classical literature, and vice versa.

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How is dance and art related?
Visual creativity is what confirms that dance is an art form.
The more creative anything is, the more it is considered some
form of art, whether it involves technology, architecture,
photography, painting or dancing

Besides the early literature, the visual arts, such as early

sculptures, reliefs, and later paintings, also give extremely
valuable information about theatre and dance.
The question is not merely of borrowing and exchanging
materials and ideas from one art form to another.

Dance has been so predominant in its position that some

textual sources stress that sculptors and painters cannot
succeed in their work without a basic knowledge of it.
Consequently, the principles of movement, however
complicated they may be, are the same for both a dancer and
a sculptor. The final goal of this intricate science of
movements, measurements, poses, gestures etc.

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 https://www.youtube.com/watch?v=86I6icDKH3M

In accumulation, there is no story or strong emotional

action driving the dance.

Thus the dance is about the technical visual addition of

stylized (but almost pedestrian) movements. It is a
moving sculpture for the brain to digest.
Is purely visual dance interesting? Is this closer to theatre
or visual art?

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 https://www.youtube.com/watch?v=zB2QKTL5-aw

I think that Brown's work in Accumulation

and in Floor of the Forest show her choreography
as moving sculpture with humans. In both pieces, the
human body interacts with space not to tell a story, but to
create a series of images.

Trisha Brown defines herself both as a choreographer and

visual artist, and plays with the lines between those fields
constantly in her work, as in It's a Draw (a draw between
the visual and performing worlds):

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Pina Bausch

Pina Bausch is another choreographer who I believe

fits the mold of "human sculptor."
Though a "story" can more clearly be found in her
work, her dancers are often used more as living visual
motifs than as full humans. They are symbols, moving
images, rather than "characters."

https://www.youtube.com/watch?
v=zS8hEj37CrA

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Steve Paxton

Like Trisha Brown, Steve Paxton worked within Judson

Dance Theatre to push the boundaries of modern dance.
The main drive of his work was breaking down the
compartmentalization of "dancers" and "non-dancers."
He also developed a widely used technique: contact
improvisation.

https://www.youtube.com/watch?
v=jhbhol7o9PM
Satisfying Lover

This is a dance by Steve Paxton that consists of ordinary

people (non-dancers) walking, pausing, and sitting.

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Discussion

Are walking, standing, and sitting dance movements? Is

everyone a "dancer"? This seems to be Paxton's
argument; the message of this dance is that anyone and
everyone is dancer and a "satisfying lover," if we pay
attention.

The way Paxton chose to present his ideas was not

through complex movement, but through simple actions
that place the emphasis on static and moving images.
Thus, I think this dance is a work of visual art.

The works of Trisha Brown, Pina Bausch, and Steve

Paxton, like most modern art, is subjective and could be
analyzed for hours.

My idea in this presentation is that all of the above

choreographers use bodies and space in a way more akin
to sculpture than traditional dance theatre. In fact, many
of their works have been presented in fine art museums.

Therefore, dance can be viewed not only as performance,

but as visual art as well.

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